Circle

I'm now almost finished my summer workshop at Circle so I thought I should report on how it's all been going and the manner of how I'm spending my days in NYC. The seven weeks has flown by and I can't believe it's almost over.

The school is on Broadway at 50th Street in the Theatre District and was founded in 1961. Go to their webpage for more info.

Here's a short run down of my classes...

Acting Technique:
This class is co-taught by two wise and eminent woman (both are members of The Actor's Studio). The first class each Wednesday is with Terry. She is in her mid-eighties and we all think of her as a Yoda-like master. As she speaks her face twitches and makes all kinds of expressions. I see her more as a tarot reader than a jedi instructor - although she does sound very much like Yoda. She is incredibly insightful and a joker of quick wit. I think she is our cheekiest teacher. Her observations are quick and alarmingly perceptive. She enjoys asking: where you're from; where you arrive in your family tree; whether you have any brothers or sisters; and whether you have a good relationship with your mother.

The second class is with Jacqui. It is based on relaxation and the exploration of the senses. The aim of this class is to enliven memories of your senses; touch, smell, sight, hearing. I really enjoy this class and the work that comes out of it is surprising and often incredibly honest. One aim of the entire program is truthfulness and being 'in the moment', and this class requires exactly that.

Classical Text:
This Shakespeare class is taught by Sybil; a fierce, ballsy and wickedly funny Brit. Her mantra is that all Shakespeare must come "from the loins". She also says 'darling' and the 'F-word' a lot - I like her immensely. She is passionate about Shakespeare and can't stand that it is often taught and perceived as a high-brow topic of exclusionary intellectual note. Her belief is that Shakespeare (and Shakespearian acting) must speak to all audiences and this is done by working 'from the loins'. In the first class she laid down the ground rules that no matter what is said or screamed at you over the course of the workshop, to remember, "Sybil likes me". She's not afraid to tell you that the work is garbage or that she doesn't believe you Macbeth. In the second class we began by screaming Elizabethan expletives at partners across the room. 'Piss-monkey'! It is an intense and ballsy class. Sybil demands 110% for each two hour class and no one wants to disappoint her. 'F%$#-ing BREATH darling!'

Dance for Actors:
This is a fun and sweaty class. It is taught by the gorgeous Jeanne (who teaches at Circle and Julliard). The class demanded that I purchase my very first pair of Jazz ballet shoes. It also requires much stretching and much aerobic activity (flexibility pets - I am bendier than ever - I think I even popped a hamstring in yesterday's class). We are learning all the Jazz Ballet standards: grapevine steps, shosse, posse, jazz runs/walks, 'kick ball change', etc, etc. We've also learnt three dance routines: a Chicago-like group routine romp, and then two partnered routines. The partnered ones have been very fun - swing/ballroom and now tango. !Baile fuerte, baile del fuego!

Physical Acting:
Is with Ken. He is hilarious, cartoon character, power pack of a bloke and I think of Jim Carey almost every class. We've done so much in this class (mostly movement-based work linking in with two learnt monologues). It has also dredged up lots of stuff for me - the good and the bad. Ken also has more groupies amongst the Circle students than any other staff member.

Scene Study:
What can I write about this class? It is such a weird beast and I'm still trying to get my head around it. It elicits a wide amount of nerves and angst amongst the student base at Circle. It is run by Alan, a Brooklyn-born 'Woody Allen-type', who is unashamedly and neurotically New York. His demeanor is unapologetic, challenging and constructive. He also has a naughty and silly streak which has reared its head in a few classes. I respect him and this class. I leave the classroom and spend much time in the subways reflecting upon it. It has taught me to be extremely 'specific' in every acting choice I make. Alan's mantra is that this class is a "journey towards you" and that we are "all great actors". Fine by me!

I've done scenes from A View from the Bridge by A. Miller, The Dreamer Examines His Pillow by J. P. Shandley and Into the Blood by S. L. Parkes.

Singing Interpretation:
This class is taken by Kimberly who is a 'classic' Broadway performer/producer. She is the quintessential Broadway dame. She whisks into the room with grace and pomp. She's also very kind and to the point. This is classical Broadway musical theatre darling... It's all about the 16-bar music theatre audition and general professional technique.

Speech/Dialect:
This class resides in the illustrious Room 109 and is taught by the vivacious K.C. She is ace - I LIKE the girl! The class is based on the academic and flawed compendium Speaking with Distinction, the International Phonetic Alphabet, and the learning of the Standard American Theatre Dialect (StdAm). General American (GenAm) and comparisons with such 'lesser' forms of the English dialect are also outlined; Australian(AusEng), Cockney (CockEng), and many other American English accents. These classes are truly hilarious. K.C. also has a hot young hunk (all recent Circle alums) to assist with each class - each 'speaks' with distinction and uses a voiceless 'W' for 'What', 'Why' and 'Wherefore' along with correct Liquid Us and diphthong and triphthong vowels.

Voice class:
Release, release, release. This class is all about breathing and being in touch with all things vocal. Getting rid of tension is the main aim of the game. I love this class. It's also the first class of the day. Part of this vocal exploration has been 'soft bellies' and 'releasing the anal sphincter'... For those who don't know:

the anal sphincter is a ring of muscles at the opening of the anus. The sphincter keeps the anus closed as stool collects in the rectum. Eventually the pressure on the rectum wall causes the anal sphincter to relax, allowing stool to pass out of the body through the anus.

Need I say more. I wonder what kind of actor I'll be when I get back to Oz? Hopefully a very relaxed one.